DANIEL HANDLER a.k.a Lemony Snicket

Daniel Handler is the author of seven novels, including Bottle Grove.. As Lemony Snicket, he is responsible for numerous books for children, including Swarm of Bees, illustrated by Rilla Alexander. His books have sold more than 70 million copies and have been translated into 40 languages, and have been adapted for screen and stage. The first season of Netflix“s adaptation ofA Series of Unfortunate Events, for which he served as Executive Producer and Writer, won a 2018 Peabody Award for its “lively excellence, strange silliness, and compelling storytelling,” and the teleplay won a 2019 Writers Guild Award. He lives in San Francisco with the illustrator Lisa Brown, to whom he is married and with whom he has collaborated on several books, and one son.

DANIEL HANDLER

I think how I feel about literature is that it was always something that I was passionate about and passionate about being connected to. So, as a reader when I was young and almost immediately around the same age as a writer, that was something that I wanted to participate in. And I think that participating in an art form that is appealing to you is really the biggest reward of being involved with it. There are certainly many challenges depending on what kind of art form you're doing in terms of making a living at it. It is almost impossible in almost all the art forms to do so, but I think seeing that it is not just about your own creativity and your own output and your own voice, but it is part of a tradition in which you are participating. And I think that's where the real satisfaction comes from a career in a creative field.

THE CREATIVE PROCESS

I think with the kind of sense of longing towards. You've written for adults, you've written for young people. And I just imagine that writing for young people that you have these freedoms. But I don't know if you feel the same way. That they're willing to go on a journey and have rules be broken and things like that.

HANDLER

I think what is most exciting is that it is a very passionate readership. You never love a book the way you love a book when you are ten. And I think to be a part of that sacred space and that kind of sacred exchange between a reader and literature is very exciting. And then, it's true that there's just a different mindset. It's difficult to speak super generally about people of a certain age, but there is a kind of mindset that I think you see in younger readers that is more about the immediate accessibility and pleasure that the writing brings you.

I think that if you're an adult and you pick up Madame Bovary, and you find the first four pages really boring, you may have a sense that Madame Bovary is a work of importance that has meant something to a lot of people and so that perhaps you're the one who is wanting and you'll feel pressured to keep going. And I don't think that's the case very often with young people and books. It's either interesting to you or it isn't and to learn that the author is celebrated or esteemed or has sold a gazillion copies or has won a bunch of prizes, I don't think any of those things are really part of most young readers' experiences. In fact, I think often when you're a child you love a book. And when you're a grownup you have no idea even of who wrote it. There's something that you read a million times, and when you were a child you'd never looked at the author's name.

This is an excerpt of a 7,000 word interview which will be published and podcasted across a network of participating university journals and national arts/literary magazines.

Mia Funk is an artist, interviewer and founder of The Creative Process.

It's about, can you handle the complexity of these things and, with American Indians, it's overwhelming, for the American public, this terrible tragedy and seeing Indians as part of the 21st century. Seeing Indians who are engineers or contemporary artists at Biennales is hard for people becaue they're always thinking about (not always, but) many of the kind of people who go to our museum. They're coming from a place of guilt and also not knowing how to process things. And so to always see Indians as of the past, which is sort of what happens. We're only Indian as much as we're like our ancestors, is something the museum has always been trying to challenge. And, you know, it's difficult. This is not a good time for complexity and nuance. We're trying to flip the script from the idea of just tragedy, this terrible past, to say, American Indians are part of the 21st century doing all kinds of interesting things. And the connections between American Indians and the United States are profound and deep, and it's not simply an issue of us being victims and the U.S. being the opressor. It's much more complicated than that.

–PAUL CHAAT SMITH · ASSOCIATE CURATOR
SMITHSONIAN NATIONAL MUSEUM OF THE AMERICAN INDIAN
Excerpt of an interview for The Creative Process

I actually assumed in graduate school that I would become a teacher and I've taught in a number of different universities, but it was working with art objects and seeing them in museums like the Metropolitan Museum or The Frick that made me want to go into museum work and ultimately become a curator. So when I was finishing my dissertation and had to think about a career, I applied to a lot of teaching jobs and there was one job that year in America in my specialized field, which was European sculpture, and I was very lucky. But a professional career is a bit of luck as well as predisposition, so I knew I wanted to work in museums, and I was lucky enough when
I was able to find my way here.

–IAN WARDROPPER · DIRECTOR
THE FRICK COLLECTION
Excerpt of an interview for The Creative Process

I think there are certainly social aspects to this because, you know, whether painting a landscape or doing a conceptual piece or large sculpture, I think artists, who are all involved in this creative process, I always say they are almost like bellwethers. They pick up on trends, pick up on anxieties, pick up on things in the world almost before the rest of us do. And artists get up, eat their cornflakes, go to work. They really do. And it's this creative process, which as Chuck Close once debunked and said, "Inspiration is for amateurs. The rest of us get up and work." It's not always inspiration, but another great quote of his is that he always, anytime he sees a lot of painting like going to a museum, he's always astonished by the transcendent moment when you realize that this is just colored dirt and pigment laid on the surface with what's arguably just a stick. There's such a metaphysical moment when these images are created on a surface. In three dimension, if you're talking about something that has reference in the natural world. In three dimension on a flat surface, it's kind of a head-scratcher to start. So great art has a transcendent moment.

–ALICIA LONGWELL · CHIEF CURATOR
PARRISH ART MUSEUM
Excerpt of an interview for The Creative Process

I think that contact with ancient civilizations is very important because we get to have in our life a third dimension. If we live only in the present, we don't understand what happened many thousand years ago. We don't realize what the development of humanity really is. I think it's very helpful to know history. I don't believe that history can teach for the future, but history can give us another dimension, can make us wiser with more abilities to judge our present. Sometimes we think that we invented everything, but this is not true. The history of human thinking is very important, is very useful for us to know different thinking of other people. At the end of the day, multicultural civilization is also very helpful today. I know, for myself, for example, I concentrate on antiquity, but sometimes I work on other civilizations. Some months ago I organized an exhibition on a very famous Chinese emperor – Qianlong (1711-99). And through this opportunity, I studied a little about Chinese culture, and I found very exciting things. And I can compare these things with our Western civilization. All this is very fruitful because we open our eyes, and we are not going on only one track. There are different approaches in life and different interpretations of the world and of societies.

–DIMITRIOS PANDERMALIS · DIRECTOR
ACROPOLIS MUSEUM
Excerpt of an interview for The Creative Process

The whole thing is to get them to feel like no matter where their background is from, the difficulty they have in their personal lives, the isolation that they feel in relationship to that, that within the art community they are embraced, they are welcomed. All they have to do is just keep getting better at it, but the community is there. I think that something we're all looking for is where we belong.

–ERIC FISCHL
ARTIST
Excerpt of an interview for The Creative Process

When I first started acting, I came to Los Angeles for a one week job. I was with my dad and we went to a production of a play called Fences. And James Earl Jones was the star. And I remember I was just the whitest kid ever from small town New Mexico. I'm sitting there watching this play about a lower middle-class African American man in Pittsburg and his family. And I just remember being so moved, moved to tears at thirteen, fourteen years old about a world that I really knew nothing about. Not even from school, even, but certainly not this feeling empathy for this specific man and wife, and she was peeling potatoes on a rocking chair and monologing ire at his character. And it was so moving. I did think, even back then I recognized the impact that the theater can have on someone that isn't even anything like what they're like.

–NEIL PATRICK HARRIS
ACTOR, WRITER, PRODUCER, MAGICIAN & SINGER
Excerpt of an interview for The Creative Process

Creativity is perhaps the ultimate mystery. I veer wildly between opposing views on it and have different feelings depending on whether the creator is isolated or a collaborator. Gropius said the artist is an exalted craftsman. “In rare moments of inspiration, moments beyond the control of his will, the grace of Heaven may cause his work to blossom into art, but proficiency in his craft is essential to every artist. Therein lies the source of creative imagination." And Steve Sondheim said, "Art is craft, not inspiration." And Rilke mistrusted any artist's knowing participation in his own creative process.

–TONY WALTON
ART & THEATER DIRECTOR · COSTUME DESIGNER
Excerpt of an interview for The Creative Process